Film Industry: Executives Argue AI Enhances, Not Replaces, Creativity

Film executives from AGBO told a crowd at the Tokyo International Film Festival that artificial intelligence will function as a support tool for creators rather than a substitute for them. The company’s leadership used a keynote at TIFFCOM on Thursday to outline how their Los Angeles-based studio integrates technology into production without surrendering artistic control to algorithms.

Chris Brearton, a partner and business leader at AGBO, and Dominic Hughes, the company’s chief scientific officer, presented the framework. They noted that AGBO produces high-profile properties including the film extraction series, Everything Everywhere All at Once, and The Electric State. Both executives emphasized that the company’s strategy places human artists at the center of the creative process.

Hughes, who has a background in algorithms and machine learning, compared the role of AI to the evolution of 3D rendering at Pixar. He stated that technology played a supporting role in those films rather than being the sole driver. At AGBO, he explained, his job is to support artists in becoming more creative. He argued that a human must always curate the output to prevent algorithms from running unchecked.

Brearton cited the company’s founders, Anthony and Joe Russo, who used digital cameras and editing to produce the complex scripts for Arrested Development. He described this early adoption of technology as a core part of the corporate culture. The executives view AI similarly, as a means to empower storytelling rather than constrain it.

The panel addressed widespread anxiety about job displacement. Brearton said there is much misinformation regarding AI’s impact. He argued that the human element remains what makes a performance special. He predicted that AI will have the most impact in the mid-term by improving process efficiencies. This includes handling the tedious tasks that slow down the creative workflow.

Hughes added that AI is currently better at critiquing than creating. He used the example of Shakespeare. He said AI can analyze a play found in an attic to determine if it matches the Bard’s style. However, if asked to write an original play, the output would feel like it was written by a 12-year-old. He noted that machines lack the creativity required for true novelty.

The executives also discussed the issue of compensation and copyright. Brearton stated that AGBO tracks every tool and usage to maintain a comprehensive paper trail. He emphasized that the company is intentional about copyright, rejecting an approach that relies on quick, untracked implementations. This method aims to protect creators from being stripped of content without proper recognition.

Hughes argued that the arrival of artificial general intelligence will not eliminate top-tier artists. He compared these creators to Beethoven and Brahms, suggesting their peak work cannot be replicated by machines. He said technologists at AGBO are building tools that enhance productivity for creatives. These tools help artists produce work that lasts, rather than replacing the humans in the production loop.

Brearton noted that AI can help democratize storytelling by allowing new filmmakers to achieve their visions on smaller budgets. He said this will lead to new movies that audiences have not seen before. However, Hughes warned that AI can generate endless mediocre content. He said the solution is to raise the bar on quality so that consumers can distinguish between high-value work and mass-produced filler.

The discussion concluded with a look at future consumption habits. Brearton described a shift toward concurrent media use, where audiences watch multiple sources on different devices simultaneously. He said creators must build worlds that tell stories across all these platforms at once. He stressed that regardless of the technology used, the foundation must remain incredible stories with rich characters.